2006-07 UCI Catalogue: Arts

DEPARTMENT OF MUSIC

303 Music and Media Building; (949) 824-6615
David Brodbeck, Department Chair

Undergraduate Program

Graduate Program

Courses

Faculty

Victor Aguilar, M.M. University of California, Los Angeles, Lecturer in Music (wind ensemble)

Kei Akagi, B.A. International Christian University, Tokyo, UCI Chancellor's Professor of Music (piano, jazz studies)

Amy Bauer, Ph.D. Yale University, Assistant Professor of Music (music theory)

Haroutune Bedelian, Associate of the Royal Academy of Music, London, Associate Professor of Music (violin)

David Brodbeck, Ph.D. University of Pennsylvania, Department Chair and Professor of Music, and The Robert and Marjorie Rawlins Chair in Music (history, criticism)

Rae Linda Brown, Ph.D. Yale University, Associate Professor of Music (history, American musics)

Robin Buck, M.M. University of Southern California, Associate Professor of Music (voice, opera)

Ellie Choate, M.A. California State University, Long Beach, Lecturer in Music (harp)

Jonathan Davis, M.M. The Juilliard School of Music, Lecturer in Music (oboe)

Russell Dicey, B.F.A. California Institute of the Arts, Lecturer in Music (French horn)

Theresa Dimond, D.M.A. University of Southern California, Lecturer in Music (percussion)

Christopher Dobrian, Ph.D. University of California, San Diego, Professor of Music and Informatics (electronic music, composition)

Nohema Fernández, D.M.A. Stanford University, Dean of the Claire Trevor School of the Arts, Professor of Music, and Claire Trevor Dean's Endowed Chair (Latin American musics, piano)

Bernard Gilmore, D.M.A. Stanford University, Professor of Music (composition, theory)

Frederick Greene, M.Mus. Ed. University of Southern California, Lecturer in Music (tuba)

Lorna Griffitt, D.M. Indiana University, Lecturer in Music (piano)

Jason Harnell, Lecturer in Music (percussion, jazz studies)

Robert Hickok, B.Mus. Yale University, Professor Emeritus of Music (choral conducting)

Joseph B. Huszti, M.Mus. Northwestern University, Professor of Music and Director of Voice and Choral Music (conducting, choral ensembles, voice)

Patricia Kaufmann, M.M. University of Southern California, Lecturer in Music (flute)

George McMullen, Lecturer in Music (trombone, jazz studies)

Margaret Murata, Ph.D. University of Chicago, Professor of Music (history, analysis, criticism)

Peter S. Odegard, Ph.D. University of California, Berkeley, Professor Emeritus of Music (theory, composition)

Darek Oles, B.A. California Institute of the Arts, Lecturer in Music (bass, jazz studies)

Charles M. Owens, B.M. California State University, Los Angeles, Lecturer in Music and Director of the Jazz Orchestra (saxophone and jazz studies)

Margaret Parkins, D.M.A. State University of New York at Stony Brook, Lecturer in Music (cello)

Colleen Reardon, Ph.D. University of California, Los Angeles, Associate Dean of the Claire Trevor School of the Arts and Professor of Music (history)

Bobby Rodriguez, M.A. California State University, Los Angeles, Lecturer in Music (trumpet, jazz studies)

John Schneiderman, B.Mus. University of California, Irvine, Lecturer in Music (guitar, lute)

Nina Scolnik, B.Mus. Oberlin Conservatory, Performance Diploma, The Juilliard School, Lecturer in Music (piano)

H. Colin Slim, Ph.D. Harvard University, Professor Emeritus of Music (history)

David Stetson, B.M. University of Southern California, Lecturer in Music (trombone)

Darryl Taylor, D.M.A. University of Michigan, Assistant Professor of Music (voice, opera)

Fred Tinsley, M.A. University of Redlands, Lecturer in Music (bass)

Stephen Tucker, D.M.A. University of California, Los Angeles, Assistant Professor of Music (orchestra)

Amanda Walker, M.F.A. University of California, Los Angeles, Lecturer in Music (clarinet)

David Washburn, M.M. New England Conservatory of Music, Lecturer in Music (trumpet)

Additional professional staff in instrumental music supplement the faculty in accordance with the needs of the program.

PROGRAMS OF STUDY

The Department of Music offers two undergraduate degrees (the Bachelor of Arts in Music and the Bachelor of Music) and the Master of Fine Arts degree in Music.

The Bachelor of Music (B.Mus.) degree program is performance-oriented. It offers students the opportunity to specialize in one of the following: bassoon, clarinet, composition, contrabass, flute, French horn, harp, jazz instrumental, lute and guitar, oboe, percussion, piano, saxophone, trombone, trumpet, tuba, viola, violin, violoncello, or voice. (The specialization appears on the student's UCI transcript.) In addition, B.Mus. students may qualify for the Special String Performance option, an intensified curriculum for professional-level students. All B.Mus. students receive weekly private instruction, for a maximum of 12 quarters for entering freshmen or six quarters for transfers and composition students, and present a solo recital during their senior year. B.Mus. students participate in performance classes each quarter. Normal residency for the Bachelor of Music degree is four years, and two years for transfer students. Vocal performance students focus on diction, movement, stage presentation, repertory, criticism, and style. Guitar and lute students focus on ensemble work, repertory with other instruments and voice, criticism, and pedagogy. Piano students give weekly solo performances before other students, and also focus on criticism, style, and interpretation. String, wind, brass, percussion, and also piano students focus on quartet work, small ensembles, and solo sonatas privately coached and presented in afternoon recitals.

The Bachelor of Arts (B.A.) degree program enables students to pursue elective subjects in music (such as analysis, history, or jazz), in the arts, or in other academic disciplines. Students receive two years of instrumental or vocal instruction and participate at the same time in two years of ensemble or repertory classes. Students also complete a senior project in an area of interest: a historical project, a composition, or a lecture/performance.

Music scholarships are offered to promising undergraduate performers. Scholarship awards are generally based on the preadmission auditions held in February.

The University's Education Abroad Program offers students the opportunity to study abroad during their junior year. Music majors may enroll in conservatories and universities in several countries; highly qualified performers may be eligible to attend the Conservatorio G. B. Martini in Bologna, Italy. See the Educational Abroad Program section for additional information.

In each baccalaureate degree program, students receive private lessons on their instruments or in voice, and perform in orchestral or choral concerts, in chamber ensembles, and in solo recitals.

A five-year program coordinated with the UCI Department of Education is available for students interested in obtaining a California Teaching Credential.

The Master of Fine Arts (M.F.A.) degree program in Music emphasizes Choral Conducting, Collaborative Piano, Composition and Technology, Guitar/Lute Performance, Instrumental Performance, Jazz Studies, Piano Performance, and Vocal Arts.

PERFORMANCE OPPORTUNITIES

Choral/Vocal

Choral ensembles at UCI offer all students, regardless of major, the opportunity to sing. Regular ensembles include the California Chamber Singers, Concert Choir, Madrigal Singers, Men's Chorus, Women's Chorus, and Women's Chamber Choir. Performances range from international concert tours, to Southern California concert venues, to campus concerts. The Department produces the annual Madrigal Dinner celebrating the court of Henry VIII. Annual invitational choral festivals are an integral part of the program. Opera and oratorio performances feature student soloists.

Instrumental

The UCI Symphony Orchestra offers participants an opportunity to explore the great masterworks of the standard orchestra repertory. The most proficient students have an opportunity to perform a concerto with the orchestra by winning the annual concerto competition. The symphony performs six times a year including collaborations with the UCI Opera Theatre and the Departments of Dance and Drama. Productions have included Bizet's Carmen and Humperdinck's Hansel and Gretel.

A cornerstone of instrumental study at UCI is the chamber music program. Small ensembles, coached by the faculty, have frequent opportunities to perform.

Additional student performance opportunities are available in larger ensembles: the Wind Ensemble performs music written for varying combinations of wind and percussion instruments; the Jazz Orchestra performs a variety of jazz big band charts; and the Athletics Bands (Pep Bands, Drumline, Marching Band, and others) play for athletic events and other school, community, and private functions.

Composition

Students have the opportunity to compose works for performances by undergraduates and graduates, chamber groups, and a student modern music chamber ensemble. Selected student works may be read by the large performing ensembles.

CAREERS IN MUSIC

A degree in Music offers many career opportunities. Music is a highly competitive profession and a degree may or may not lead to professional employment with an orchestra or as a concert artist. Many graduates do, however, become successful freelance members of symphony orchestras, composers, and performers. Many others go on to pursue graduate degrees in performance, music history, conducting, arts management, music librarianship, composition, or secondary or postsecondary education. Some graduates have made careers in music publishing and in the recording industry.

RECOMMENDED PROFICIENCY LEVELS

All applicants for admission are required to pass an audition in their principal performing medium and will receive information concerning the mandatory audition approximately 60 days following the close of the application period.

Freshmen students wishing to enter either of the baccalaureate degree programs in Music must demonstrate appropriate performance proficiency and should have had a minimum of three years of private instrumental or vocal instruction. They should know scales, fundamental notation, triads, and have the ability to read music in both treble and bass clefs. Basic keyboard skill is highly desirable, as is experience as a solo performer. Choral, orchestral, band, or stage experience is desirable. In addition, they should have knowledge of scales, chords, and arpeggios; sight-reading ability; and a solo repertory from the sonata or chamber literature or the art song and oratorio literature.

Transfer students pursuing either undergraduate degree should have had college-level private instrumental or vocal instruction; two years of music theory; the history of western music; ear-training; sight-singing; sight-reading; and piano.

For transfer students pursuing the B.Mus. degree, results of placement tests will determine the minimum number of quarters necessary to complete degree requirements. All transfer students must take placement tests in musicianship, theory, and history in order to transfer these courses in fulfillment of the UCI Music degree requirements. These placement tests are given just before the beginning of the student's first quarter of study at UCI.

It is strongly recommended that all entering B.Mus. students have at least the following experience and/or abilities in music:

Composition students—instrumental or vocal performance proficiency as listed below for the appropriate instrument; submission of original instrumental and/or electronic compositions (scores and/or tapes) demonstrating creative talent and writing ability.

Guitar and lute students—knowledge of basic chord shapes, ability to read basic chord progressions and staff notation or tablature. Prior knowledge of the lute is desirable but not required. Guitarists with a nonclassical background (fingerstyle, jazz, rock) will be considered if they have adequate facility on the instrument and the desire to explore the classical guitar and lute repertory.

Jazz instrumental students—ability to produce a focused, clear tone and precise intonation on their instrument. Students must perform from memory at least three blues compositions and three compositions (32 bar or other) chosen from Ellington, Parker, Coltrane, Mingus, Monk, or Wayne Shorter. Students also must perform by memory the major, minor, blues, and altered scales in all keys.

Percussion students—mastery of rudimentary snare drum techniques to include open and closed rolls, flams, ruffs, and drags; familiarity with mallet percussion instruments (including bells, xylophone, and marimba) and ability to play rolls on tympani; knowledge of tuning techniques and basic rhythmic reading, major and minor scales, and basic note-reading skills.

Piano students—ability to perform from memory a prelude and fugue from Bach's Well-Tempered Clavier, the first movement of a classical sonata of the difficulty of a Beethoven sonata, excluding op. 49 nos. 1 and 2 and op. 79, and a composition from the romantic period or twentieth century.

Special String Performance students—Violin: major and minor scales and arpeggios through three octaves, one movement from a Bach unaccompanied sonata or partita, one movement from a classical or romantic sonata, two contrasting movements of a classical or romantic concerto from the standard repertory; Viola: major and minor scales and arpeggios through three octaves, one movement from a Bach suite, one movement of a sonata or concerto from the standard repertory (e.g., Brahms sonata, or concertos by Handel, Hoffmeister, Bartók, or Telemann); Violoncello: major and minor scales and arpeggios through three octaves, one movement from a classical sonata (e.g., Sammartini G major sonata, Beethoven sonata) or two contrasting movements from a Bach suite, one movement from a romantic sonata (e.g., Brahms, Strauss) or one movement from a concerto from the standard repertory (e.g., Lalo, Saint-Saëns, Dvôrák, Haydn, Boccherini); Double Bass: major and minor scales and arpeggios, a solo from Saint-Saëns' Carnival of the Animals or comparable work, two contrasting movements from any concerto of the standard repertory.

String students—ability to produce a clear tone and precise intonation with and without vibrato; controlled vibrato; slurred, detaché, louré, staccato, and simple spiccato bow strokes; knowledge of all major and minor scales and arpeggios; ability to play and read repertory of a difficulty comparable to the symphonies of Haydn, Mozart, Beethoven, and Schubert as well as demonstrable knowledge of the sonata and/or chamber music literature for the particular instrument.

Voice students—ability to perform solo literature; at least three years of private study and/or participation in choral or instrumental ensemble; some facility at the keyboard; a background in Italian, French, and German art songs.

Woodwind and brass students—ability to sustain tone production; accurate intonation over a dynamic range (from pianissimo to fortissimo); control of breath and articulation; all major and minor scales and arpeggios (legato and staccato) commensurate with the range and technique of the particular instrument; ability to play and read repertory from the seventeenth century to the present.

REQUIREMENTS FOR THE BACHELOR'S DEGREE

University Requirements: See pages 59-64.

School Requirements: None.

Departmental Requirements—Core

Four quarters of theory/musicianship (Music 16A-B-C-D); two quarters of courses chosen from post-tonal theory (Music 35A-B), jazz theory (Music 36A-B), counterpoint (Music 43) or advanced counterpoint (Music 135), instrumentation (Music 136), composition (Music 150), music technology (Music 51, 151, or 152); one year of music history (Music 40B-C-D); attainment of a passing score on the Piano Sight-Reading Examination, to be taken no later than the first quarter of the junior year.

Bachelor of Arts Degree: Satisfactory completion of the Core requirements; one quarter of analysis (Music 155A); one quarter upper-division topics course chosen from the Music 140-148 series or Music 155B; two years of instrumental or vocal instruction (12 units maximum, selected from Music 165-170); two years of ensemble or repertory classes as assigned by the Department selected from Music 63, 160-164, 171-176, 178, 194, or 197. Lesson must be taken concurrently with ensemble or repertory class. Transfer students must complete at least six units of instrumental or vocal instruction in residence and six units in ensemble or repertory courses in residence.

Students may choose to emphasize Analysis, History, Performance, and Jazz. One of the following senior projects (Music 192P) must be completed: (1) a lecture or lecture/performance of approximately 20 minutes in length on a musical subject presented to students, faculty, and guests, which can be a revision of a paper or project prepared for a course; (2) a composition or group of compositions of appropriate length; or (3) a thesis of at least 15 typed, double-spaced pages on a musical subject, which can be based on material taken from a course other than Music 155B. Proposed projects must be approved by the B.A. advisor by the end of the fall quarter of the year in which graduation is expected. Upon approval of the project proposal and with faculty supervision, a student may take Music 199 to research and write the thesis.

Bachelor of Music Degree: Satisfactory completion of the Core requirements; one quarter of analysis (Music 155A); one quarter upper-division topics course chosen from the Music 140-148 series or Music 155B; instrumental or vocal students receive instruction each quarter of residence (Music 165-170) for a maximum of 12 quarters for entering freshmen and six quarters for transfer students. Composition students receive six quarters of studio instruction (Music 165-169) as assigned by the Department and six quarters of composition lessons (Music 157). Normally Music 157 is taken in their junior and senior years. Instruction beyond the maximum must be approved by the Department; senior recital (Music 192S); completion of the following courses according to the approved Bachelor of Music specialization:

Composition: six quarters of ensemble performance selected from orchestra (Music 160), wind ensemble (Music 161), chorus (Music 162 or 171), chamber ensembles (Music 174 or 176), jazz orchestra (Music 178), or advanced jazz combo (Music 182); one quarter instrumentation (Music 136); two quarters of music technology (Music 51 and 151); three quarters of composition (Music 150). A senior project (Music 192P) may be substituted for the recital (Music 192S).

Guitar and Lute: guitar and lute workshop (Music 174) and chamber ensembles (Music 176) each quarter of residence.

Jazz Instrumental: jazz improvisation (Music 181A-B-C), orchestra, wind ensemble, or jazz orchestra as assigned by the Department (Music 160, 161, or 178) each quarter of residence, and nine quarters of chamber ensembles (Music 176, 182, 184, or 185). Transfer students require six quarters of chamber ensembles.

Orchestral or Band instruments: orchestra, wind ensemble, or jazz orchestra, as assigned by the Department (Music 160, 161, or 178) and chamber ensembles (Music 176) each quarter of residence.

Piano: piano repertory (Music 175 each quarter of residence), one quarter of piano pedagogy (Music 126); six quarters of chamber ensembles (Music 176) and three quarters of accompanying (Music 162P, 164P, 166P, or 197) as assigned by the Department. Transfer students must complete six quarters of chamber ensembles or accompanying in residence. Lower-division students must complete three quarters of keyboard skills (Music 21A-B-C) and upper-division students must complete three quarters of piano literature (Music 122A-B-C).

Voice: chorus (Music 162) each quarter of residence; three quarters of diction (Music 158A-B-C) and two quarters of song literature (Music 156A-B), three quarters of word and music (Music 197), three quarters of opera workshop (Music 164).

NOTE: "Each quarter of residence" refers to residence within the major and residence at UCI.

Bachelor of Music Degree (Special String Performance): Satisfactory completion of the Core requirements; four years of instruction in the major instrument (Music 77 and 177); four years of orchestra (Music 160); two years of chamber music (Music 194); any three courses in history or criticism of art, dance history, development of drama, dramatic literature, or film criticism; four to eight units of a music elective selected from Music 135, 140-148, 155A-B; senior recital (Music 192S).

Sample Programs of Study

MASTER OF FINE ARTS PROGRAM

Degree Offered

M.F.A. in Music, with emphasis in Choral Conducting, Collaborative Piano, Composition and Technology, Guitar/Lute Performance, Instrumental Performance, Jazz Studies, Piano Performance, and Vocal Arts.

Admission

Applications must be received by February 1. In addition to meeting all general requirements for admission to graduate study, applicants should hold a B.A. in Music, a B.Mus., or the equivalent.

Applications must be accompanied by a writing sample in English, preferably on a musical topic; this requirement may be fulfilled by the submission of an undergraduate paper or example of similar size and scope.

Applicants must audition for members of the Music faculty. In exceptional cases (as approved in advance by the departmental graduate advisor), a recently recorded performance may be accepted in lieu of a live audition. Applicants in composition must, in addition, submit a representative sample of scores and recordings of their works.

Applicants are expected to have good general knowledge of music history and music theory, competence in basic musicianship skills, including sight-singing, written and keyboard harmony, dictation, and basic keyboard facility (including sight-reading). Entering students will be given diagnostic tests in these areas prior to the beginning of classes and will be required to remedy any evident deficiencies during the first year in residence by registering for the appropriate undergraduate courses. Credit earned in such courses cannot be counted toward fulfillment of any degree requirement.

General Degree Requirements

Course requirements may be fulfilled only by graduate courses (numbered 200 and higher) and upper-division undergraduate courses (numbered 100 and higher), and only by those courses in which a grade of B or higher has been earned.

All students must complete the graduate core curriculum in bibliography (Music 200) and music analysis (Music 201A-B) and register for tutorial study in the major field (Music 210, 211, or 212) during every quarter in residence. Students in the emphasis in Composition and Technology and Instrumental Performance must enroll in an approved large ensemble during every quarter in residence.

Students enrolled in the emphasis in Choral Conducting, Collaborative Piano, Guitar/Lute Performance, Piano Performance, and Vocal Arts must fulfill a foreign language requirement, as described in the individual emphasis descriptions below. This requirement may be met either by attaining a passing score in the departmental examination or by earning a grade of B or higher in level 2A of an approved undergraduate language course.

All students must pass the Comprehensive Examination (normally taken during the fifth quarter in residence) and perform one or more public recitals. Details are found in the individual emphasis descriptions below.

Individual Emphasis Requirements

Choral Conducting

Languages: reading knowledge of French, German, or Italian.

Course Work: Bibliography (Music 200), 4 units; Analysis (Music 201A-B), 8 units; Choral Conducting (Music 210), every quarter in residence (maximum 24 units); Diction (Music 158A-B-C), 6 units (Note: this requirement may be met by examination, in which case these 6 units are taken as electives); Seminars (selected from Music 220, 230, 235), 12 units; electives, selected with advisor, 12 units; Graduate Recital (Music 214), 0 units.

Comprehensive Examination: This is a special field exam, related to (but not limited to) repertoire selected for the Graduate Recital. It is taken no later than March of the second year. The graduate committee sets the exam 24 hours in advance; the student makes an oral presentation and then fields the committee's questions.

Collaborative Piano

Languages: reading knowledge of French, German, Italian, or Spanish.

Course Work: Bibliography (Music 200), 4 units; Analysis (Music 201A-B), 8 units; Performance (Music 211), every quarter in residence (maximum 24 units); Seminar (selected from Music 220, 230, 235), 4 units; Diction (Music 158A-B-C), 6 units (Note: This requirement is waived for students who demonstrate competence in this area by passing a diagnostic exam, in which case these 6 units are taken as electives); Song Literature (Music 156A-B-C), 6 units; Chamber Ensembles (Music 176), 6 units; two Graduate Recitals (Music 214), one instrumental and one vocal, 0 units.

Comprehensive Examination: This is a special field exam, related to (but not limited to) repertoire selected for the Graduate Recitals. It is taken no later than March of the second year. The graduate committee sets the exam 24 hours in advance; the student makes an oral presentation and then fields the committee's questions.

Composition and Technology

Course Work: Bibliography (Music 200), 4 units; Analysis (Music 201A-B), 8 units; Composition (Music 212), every quarter in residence (maximum of 24 units); Music Technology (Music 215), 8 units; Seminars (selected from Music 220, 230, 235), 12 units (Note: must include at least one quarter of Music 235 or comparable course in critical studies, selected with advisor); Music electives, 8 units (selected from Music 136, 145-148, 191, 215 [beyond the two quarters required above], 220 [beyond those used to meet the seminar requirement above], 240, 250); participation in a large ensemble or chamber group (Music 160, 161, 162, 162P, 171, 176, 178, or 182), 6 units; Graduate Recital (Music 214), 0 units. (Note: Preparation and public presentation of a project in composition [major composition, recital of compositions, CD/DVD, etc.], including score and supporting written essay.)

Comprehensive Examination: Successful oral defense of the recital project (music and essay) before the faculty committee.

Guitar/Lute Performance

Languages: Reading knowledge of French, German, Italian, or Spanish.

Course Work: Bibliography (Music 200), 4 units; Analysis (Music 201A-B), 8 units; Performance (Music 211), every quarter in residence (maximum of 24 units); Seminars (selected from Music 220, 230, 235), 8 units; Chamber Ensembles (Music 176), 6 units; Guitar Accompanying (Music 189), 6 units; Graduate Project in Performance (Music 240), 4 units; Graduate Recital (Music 214), 0 units. (Note: The recital is supported by a written essay, presented in advance of the Comprehensive Examination.)

Instrumental Performance

Course Work: Bibliography (Music 200), 4 units; Analysis (Music 201A-B), 8 units; Performance (Music 211), every quarter in residence (maximum of 24 units); Seminars (selected from Music 220, 230, 235), 8 units; Chamber Ensembles (Music 176), 6 units; Large Ensemble (Music 160, 161), every quarter in residence (maximum of 12 units); Graduate Recital (Music 214), 0 units.

Jazz Studies

Course Work: Bibliography (Music 200), 4 units; Analysis (Music 201A-B), 8 units; Performance (Music 211), every quarter in residence (maximum of 24 units); Composition (Music 212), 12 units; Jazz Orchestra (Music 178), 6 units; Advanced Jazz Combo (Music 182), 6 units; Critical Studies in Music (Music 235) or other comparable course offered in another department, selected with advisor, 4 units; Graduate Recital (Music 214), 0 units.

Piano Performance

Languages: Reading knowledge of French, German, Italian, or Spanish.

Course Work: Bibliography (Music 200), 4 units; Analysis (Music 201A-B), 8 units; Performance (Music 211), every quarter in residence (maximum of 24 units); Seminars (selected from Music 220, 230, 235), 8 units; Chamber Ensembles (Music 176), 6 units; Electives, selected with advisor (upper division or graduate, Music or non-Music), 4 units; two Graduate Recitals (Music 214), 0 units.

Vocal Arts

Languages: Reading knowledge of French, German, Italian, or Spanish.

Course Work: Bibliography (Music 200), 4 units; Analysis (Music 201A-B), 8 units; Performance (Music 211), every quarter in residence (maximum of 24 units); Seminars (selected from Music 220, 230, 235), 8 units; Opera Workshop (Music 164), 6 units; Electives, selected with advisor (upper division or graduate, Music or non-Music), 10 units; Graduate Recital (Music 214), 0 units.

Courses in Music

LOWER-DIVISION

3 Music Appreciation (4). Introductory learning-to-listen course. Students develop musical understanding through listening to live and recorded performances: identifying such elements as melody, meter, mode, pitch, rhythm, harmony, and timbre; applying those concepts to music from a wide range of historical and cultural origins.

7 Gospel Choir (2) F, W, S. Learning about and performing American spirituals and gospel songs. Approach is one of cultural scholarship rather than "musically straight." Performances are given throughout the year. May be repeated for credit. Same as African American Studies 10.

8 The Music of the Beatles (4) W, S. Provides students the opportunity to develop their understanding of the basic elements of music while providing an introduction to selective broader cultural themes (e.g., the "teenage culture" of the 1950s and the "youth counter-culture" in the late 1960s).

9 History of Rock (4) S. Explores the development of rock music—its history and stylistic development from a political, sociological, and musical perspective.

10 Piano for Majors (2) F, W, S. For Music majors with little or no piano experience. Provides the necessary background for realizing keyboard exercises required in the theory and harmony courses, and develops skills to play and sight-read simple music from different periods. Pass/Not Pass only. May be taken for credit three times.

14A-B-C European and American Music: 1700-Twentieth Century (4-4-4) F, W, S. Survey of European and American music from the Baroque period through the twentieth century. 14A: Baroque and Classical music with adequate attention given to the Medieval and Renaissance periods. 14B: The nineteenth and twentieth centuries. 14C: Selected topics in American music. (IV)

16A-B-C-D Theory/Musicianship (4-4-4-4) F, W, S. 16A: Basic concepts and materials. Major and minor scales, intervals between pitches, key signatures, elements of rhythm, diatonic chords in root position, and inversion. Simple and compound meters. 16B: Principles of voice-leading, harmonic progression. Triads in first inversion. Triads in second inversion (6-4 chords). Syncopation in simple and compound meters. 16C: Phrase structure, non-chord tones, the V7 chord and its resolutions, inversions of the V7 chord, ii7 and vii7, other diatonic seventh chords. Non-symmetrical meters and mixed meters. 16D: Chromaticism and altered chords, secondary (applied) V and V7 chords, secondary vii7 chords, common—chord and common—tone modulations, other modulations, mode mixture, the Neapolitan chord, augmented-sixth chords, altered dominant chords, extended chords (ninth, eleventh, and thirteenth chords), harmonic practices of the late nineteenth century.

21A-B-C Keyboard Skills (1-1-1) F, W, S. Designed to develop the foundational skills of sight-reading, harmonization, transposition, improvisation, figured bass realization, and score reading.

35A-B Post-Tonal Theory (4-4) W, S. Study of significant harmonic, rhythmic, and structural practices since 1900. Analysis and written work exploring free atonality and serialism; neo-tonal practices such as use of extended tertian harmonies, modalism, pandiatonicism, and non-tertian harmonies; structural principles such as aleatory, metric modulation and minimalism. Prerequisite: Music 16D.

36A-B Jazz Theory (4-4) W, S. 36A: Introduction to the jazz symbols and terminology. Study of the most basic harmonic and melodic devices used by the jazz improviser. Emphasis is placed on understanding harmonization. Prerequisite: Music 16D. 36B: Continuation of the study of harmonic and melodic devices in jazz with emphasis on role that bi-tonality has in modern idiom. Use of non-chordal notes is examined as well as a look at reharmonization of pre-existing melodies. Prerequisite: Music 36A.

40B-C History of European Music to Wagner (4-4) F, W. A survey of Western music. An introduction to the analysis of musical styles and forms and to the sources for constructing music history and reconstructing historical music. 40B: to J.S. Bach; 40C: to Richard Wagner. Prerequisites: Music 16C; Music 35B recommended for 40C. Open to Music majors only. (IV, VII-B)

40D Twentieth-Century Music (4) S. Survey of principal composers, movements, and compositional techniques of Western art music of the modern era. Prerequisites: Music 16D and 40B-C. (IV, VII-B)

41 Major Composer (4). Study of the works of an important composer with emphasis on their significance in historical and social contexts. Composers selected represent a wide variety of historical periods, nationalities, and stylistic orientations. Primarily for non-music majors; majors may enroll with permission. May be taken for credit two times as topics vary.

43 Counterpoint (4) W. Studies in contrapuntal practices of various style periods such as the sixteenth, eighteenth, and twentieth centuries. Prerequisite: Music 16D.

51 Music Technology and Computers (4) F. A study of the influence of technology on the musical culture and aesthetics of America in the twentieth century, with particular emphasis on the role of the computer. Work includes lectures, readings, listenings, discussions, demonstrations, writing, and experimentation.

63 Vocal Performance (1) F, W, S. Performance class for lower-division students emphasizing the development of style and stage presentation of song literature. Repertoire chosen from material assigned in the voice studio. May be repeated for credit.

78A, B History of Jazz (4, 4) F, W. 78A: Development of jazz from its African and African American folk origins through blues, early jazz and the swing era. 78B: Continuation of the above survey, concentrating on bebop, "cool" jazz, and fusion. (VII-A)

92 Sophomore Recital (0) F, W, S. Solo or joint public recital by audition only and with departmental approval. Prerequisite: Music 16C. Corequisite: Music 174, 175, or 176. Open only to Music majors, except students concentrating in voice. Pass/Not Pass only.

UPPER-DIVISION

122A-B-C Piano Literature (2-2-2) F, W, S. Survey of stringed keyboard literature from the English Virginalists through twentieth-century composers. Historical, formal, and stylistic considerations of music presented. Performances by class participants and occasional outside guests. Prerequisites: Music 16A-B-C.

126 Piano Pedagogy (2). The materials and methods of piano instruction are examined and evaluated.

135 Advanced Counterpoint (4) S. Advanced exercises and composition in two- and three-part tonal writing, canon, and fugue, as well as some contemporary forms. Prerequisite: Music 43.

136 Instrumentation (4) W. Ranges and capabilities of modern orchestral instruments. Exercise in writing for various combinations of wind, string, and percussion instruments and for full orchestra. Prerequisite: Music 16C.

NOTE: Courses in the 140-148 sequence are for Music majors and include such topics as: The Motet in the Thirteenth and Fourteenth Centuries (140), Renaissance Keyboard Music (141), The Cantatas of Bach (142), Mozart's Operas (143), Early Nineteenth-Century Opera (144), Schoenberg, Bartók, and Stravinsky (145), Duke Ellington, Miles Davis, and Billie Holliday (146). Topics vary from quarter to quarter; each course may be repeated for credit. Some topics courses are open to nonmajors.

140 Studies in Medieval Music (4)

141 Studies in Renaissance Music (4)

142 Studies in Baroque Music (4)

143 Studies in Classical Music (4)

144 Studies in Romantic Music (4). Prerequisite when offered for upper-division writing: satisfactory completion of the lower-division writing requirement.

145 Studies in Twentieth-Century Music (4). Prerequisites: satisfactory completion of the lower-division writing requirement and upper-division standing.

146 Studies in Jazz Music (4)

147 Studies in Music Technology (4) F, W, S. Specialized topics in electronic music, computer-aided music, and other aspects of music technology.

148 Studies in Ethnomusicology (4)

150 Composition (4) F, W, S. Exercises and projects for diverse instrumental-vocal combinations; contemporary techniques and problems. Participation in the improvisation ensemble and working with electronic media. Prerequisite: Music 16C or consent of instructor. May be repeated for credit.

151 Computer Music Composition (4) W. Exercises in the composition of music uniquely possible by computer, including digital signal processing, computer control of synthesizers and processors, and algorithmic composition. Demonstrations and musical analyses in class; considerable studio work outside class. Prerequisite: Music 51 or consent of instructor.

152 Interactive Arts Programming (4) S. Study of artistic issues and programming techniques involved in the development of interactive computer art and music. Theoretical background, basic tenets of programming, and practical exercises in programming interactive computer multimedia art. Prerequisite: Music 151 or Studio Art 106 or consent of instructor.

155A-B Analysis (4-4) F, W. Methods of formal analysis applicable to all Western musical styles: additive, continuous, transformational, and hierarchic forms; rhythm, texture, and sonority as form and process. Prerequisites: Music 16D and 40B-C, or equivalent; satisfactory completion of the lower-division writing requirement.

156A-B-C Song Literature (2-2-2) F, W, S. A survey of song literature. Designed as an overview of the song repertoire. 156A: German Lieder. 156B: Songs of other European languages. 156C: National Schools.

157 Advanced Study in Composition (2) F, W, S. Individual weekly lessons in composition. Prerequisite: Music 150. Open only to upper-division Music majors. May be taken for credit six times.

158A-B-C Diction (2-2-2) F, W, S. In-depth study of the International Phonetic Alphabet (IPA), including its transcription and pronunciation, and its application for singers. 158A: Introduction to IPA and Italian diction. 158B: French diction. 158C: German diction.

159 Vocal Pedagogy (2) S. Survey about the physical structure of the singing mechanism, science, and philosophy of studio instruction.

160 University Orchestra (2) F, W, S. Study and performance of standard orchestral repertory and works by contemporary composers. Emphasis on ensemble techniques including articulation, balance, phrasing, expression, accompanying. Two concerts per quarter; musicians required to attend all rehearsals. By audition only. May be repeated for credit.

160L Orchestral Tutorial (1 to 2) F, W, S. Tutorial instruction for individual players in the University Orchestra, combining private instruction with independent practice. Corequisite: Music 160. Open to nonmajors only with consent of Department of Music and instructor. May be repeated for credit.

161 Wind Ensemble (2) F, W, S. Advanced ensemble devoted to the study and performance of music written for varying combinations of wind and percussion instruments. Concerts typically include works for small groups as well as those for full symphonic wind ensemble. Membership open to both Music majors and nonmajors by audition only. May be repeated for credit.

162 University Chorus (2) F, W, S. Included in the University Chorus are Concert Choir, Madrigal Singers, Men's Chorus, Women's Chorus. Each quarter a major concert is prepared, often with orchestral accompaniment. Membership is open by audition. May be repeated for credit.

162L Basic Voice Lab (2) F, W, S. Vocal technique and musicianship for selected singers in UCI's choral organizations. Not open to Music majors. Corequisite: Music 162. Prerequisite: consent of Director of the choral group. May be repeated for credit.

162P University Chorus: Accompanying (2) F, W, S. Keyboard accompanying for one of the UCI choral organizations, with individual coaching in sight reading, score reading, and other accompanying skills. Prerequisite: consent of instructor. May be repeated for credit.

162S Summer Choir (2) Summer. Participants with all levels of experience (or inexperience) are encouraged to join this class. Each meeting is a rehearsal, where students learn basic choral singing techniques and apply those techniques to choral repertoire. Pass/Not Pass only. May be repeated for credit.

163 Vocal Performance (1) F, W, S. Performance class for upper-division students emphasizing the development of style and stage presentation of song literature. Repertoire chosen from material assigned in the voice studio. May be repeated for credit.

164 Opera Workshop (2) F, W, S. Students participate in staged performances of scenes from complete operas. The aim is to broaden the repertoire of singers by offering them opportunities to become acquainted with a wide variety of operatic roles.

164P Opera Workshop: Accompanying (2) F, W, S. Training in techniques and operatic repertory for keyboard players. Prerequisite: consent of instructor. May be repeated for credit.

165 Advanced Study in Piano (2) F, W, S. Designed to give students the technique, musical insight, and performance experience for interpreting works of the piano literature in concert performances. Private weekly lessons. Open to Music majors only. May be repeated for credit.

166 Advanced Study for String Instruments (2) F, W, S. Private weekly lessons. Open to Music majors and minors only. Corequisite: Music 160, 161, 162, or 178. May be repeated for credit.

166P String Accompaniment (2) F, W, S. Chamber ensemble experience with the solo string repertory for keyboard, participation in the weekly string master class, performance in public recitals. Prerequisite: consent of instructor. May be taken for credit three times.

167 Advanced Study for Wind Instruments (2) F, W, S. Private weekly lessons. Open to Music majors and minors only. Corequisite: Music 160, 161, 162, or 178. May be repeated for credit.

168 Advanced Study in Voice (2) F, W, S. Designed for voice majors; students are selected by audition. Private weekly lessons. Corequisite: concurrent enrollment in Music 162 or 171. May be repeated for credit.

169 Advanced Study for Percussion Instruments (2) F, W, S. Private weekly lessons. Corequisite: Music 160, 161, or 178 as assigned by the Department. Open to Music majors only. May be repeated for credit.

170 Advanced Study for Guitar and Lute (2) F, W, S. Private weekly lessons. Corequisite: Music 174. Open to Music majors and minors only. May be repeated for credit.

171 Chamber Singers (2) F, W, S. A select ensemble specializing in vocal chamber music from all periods. Frequent performances on and off campus. Membership is open to all singers by audition. May be repeated for credit.

172 Men in Blaque (2) F, W, S. Men's chamber choir studying and performing music in original SATB and TTBB voicing. Gregorian chant, Renaissance motets and masses, part-songs from the Romantic era by Schubert and Schumann, folksongs, spirituals, jazz and contemporary literature comprises majority of repertoire. May be taken for credit 12 times.

173 Athletics Bands (1 to 2) F, W, S. Bands support athletic events including Drumline: study and rehearsal of rudiments, cadences, arrangements; Marching Band: exercises and performance of marching fundamentals, formations, precision drills; Pep Bands: rehearsal and performance of variety of music styles for athletic events, school, community, private functions. May be repeated for credit.

174 Guitar and Lute Workshop (2) F, W, S. An informal master class for the discussion of solo repertory and performance practice, this workshop also includes special topics such as historical notational systems, traditional American guitar styles, and demonstrations of period plucked instruments.

175 Piano Repertory (1) F, W, S. Weekly one-hour meetings for piano students to perform before each other, followed by open discussion. The aim is to develop a sense of self-criticism and the ability to listen intelligently. May be repeated for credit.

176 Chamber Ensembles (2) F, W, S. A class for instrumental majors. Instrumental students are assigned to various music ensembles, such as classical, jazz, contemporary, etc. May be repeated for credit.

177 Private Lesson (Special String Performance majors) (4) F, W, S. A one-hour weekly private lesson. Instruction in technique and literature for Special String Performance option at junior and senior levels. Corequisite: Music 196. May be repeated for credit.

178 Jazz Orchestra (1) F, W, S. Rehearsal and performance of literature written for large jazz ensemble with emphasis on methods and materials. Laboratory setting for new arrangers and/or composers of modern jazz pieces. Prerequisite: consent of instructor. May be repeated for credit.

180 Music Criticism (4). Topics vary.

181A Beginning Jazz Improvisation (2) F. Develops the student's basic understanding of the fundamentals of jazz improvisation. Basic harmonic patterns, blues, modality, and simpler song forms are covered. This is a performance workshop requiring a reasonable amount of instrumental facility. Prerequisite: Music 16C or equivalent. Formerly Music 178I.

181B Intermediate Jazz Improvisation (2) W. Continuation of beginning jazz improvisation which covers various 32-bar song forms, modal improvisation and more sophisticated blues forms. Studies the development of improvisation through history of jazz including composers Ellington, Monk, Morton, Mingus, Coltrane, Silver, and others. Prerequisite: Music 181A.

181C Advanced Jazz Improvisation (2) S. Reviews the relationship between long-form composition and improvisation. The historical context of various improvisational styles and linear non-chordal improvisation are introduced. Prerequisite: Music 181B.

182 Advanced Jazz Combo (2) F, W, S. Small-group jazz ensemble and improvisational workshop. Range of music covered encompasses the full traditional jazz from improvised ragtime up through the most current avant-garde musical techniques. Prerequisite: consent of instructor. May be repeated for credit.

183A-B-C Jazz Composition (4-4-4) F, W, S. Performance and lecture course for writing and performing original jazz compositions. Emphasis is placed on composing as a way to create new improvisational frameworks. 183A: Study of be-bop and hard-bop compositional methods centered on diatonic and dominant-motion harmonic structures. 183B: Study of post-be-bop non-diatonic and modal structures. 183C: Study of modern tonal-center compositions, intervallic compositions, and alternate rhythms. Prerequisites: Music 36A-B and Music 78A, 78B.

184 Saxophone Quartet (2). A survey and performance of modern four-part saxophone literature. Prerequisite: consent of instructor. May be repeated for credit.

185 Jazz Rhythm Section (2) F, W, S. Survey and performance of jazz rhythm section techniques and literature. Prerequisite: consent of instructor. May be repeated for credit.

188 Advanced String Quartet (2) F, W, S. May be repeated for credit.

189 Accompanying for Plucked Strings: Continuo and Changes (2) F, W, S. Students apply theory to their instruments as they learn the basics of pre-1800 continuo playing and post-1900 jazz charts. Includes discussions of appropriate repertory, treatment of harmonic progressions, and finer points of style and technique. Prerequisite: Music 16C. May be repeated for credit.

191 Tutorial in Music (1 to 4) F, W, S. Independent supplemental instruction related to student's area of study. May be repeated for credit.

192J Junior Recital (0) F, W, S. Solo or joint public recital by audition only and with departmental approval. Corequisite: Music 163, 174, 175, or 176. Prerequisite: Music 16D. Open to Music majors only. Pass/Not Pass only.

192P Senior Project (0) F, W, S. Senior project for Music majors in the B.A. program. Open to Music majors only. Pass/Not Pass only.

192S Senior Recital (0) F, W, S. Performance of solo public recital with departmental approval. The recital must include at least one work composed since 1945. Corequisites: Music 163, 174, 175, or 176. Prerequisites: Music 16D, 40B-C-D or equivalent; and Music 155A. Pass/Not Pass only.

193A-B Conducting (2-2) W, S. 193A: Introduces students to the basic technique employed in the practice of conducting. 193B: Application of advanced conducting techniques, score study, and leadership skills. Prerequisites: Music 16D and 40B-C-D or equivalent.

195 Orchestral Repertoire (2) F, W. Extensive study of orchestral repertoire, as represented in the canon. Exploration of new and emerging orchestral works and performance techniques. Prerequisites: Music 40B-C-D. May be taken for credit four times.

197 Word and Music (2) F, W, S. Performance class for advanced singers and pianists with emphasis on collaborative approach to vocal literature. Prerequisite: consent of instructor. May be repeated for credit.

199 Independent Study (2) F, W, S. Research, writing, or composition work, under the guidance of a faculty member, normally undertaken in conjunction with preparation of the B.A. Senior Project. Prerequisite: consent of instructor. May be taken for credit two times.

GRADUATE

200 Bibliography and Research (4) F, W. Required of all entering students. A systematic introduction to the bibliographical tools both in the general field of music and in the students' areas of specialization. May be repeated for credit.

201A-B Analysis (4-4) F, W. Various approaches to analysis through concentrated study of a number of selected works.

210 Choral Conducting (4) F, W, S. Intensive private instruction and study of the various choral literatures. May be taken for credit six times.

211 Performance (4) F, W, S. Contents vary according to the student's major instrument. Intensive private instruction and study of the various literatures. May be taken for credit six times.

212 Composition (4) F, W, S. Intensive work in composition geared to each student's level of competence. May be repeated for credit.

213 Orchestral Conducting (4) F, W, S. Intensive private instruction in instrumental conducting. May be repeated for credit.

214 Graduate Recital (0) F, W, S. Performance of public recital. Satisfactory/Unsatisfactory only. May be taken for credit two times.

215 Music Technology (4) F, W, S. Studies in the history, literature, composition, and performance of electronic and computer music, including instruction in the theory and usage of prevalent music technology. May be repeated for credit.

220 Seminar in Music History (4)

230 Seminar in Contemporary Music (4) F, W, S. Special seminar projects dealing with music of the twentieth century with emphasis on analytical techniques and style criticism. May be repeated for credit.

235 Critical Studies in Music (4) F, W, S. A critical examination of Western music traditions, institutions, and aesthetics, employing new scholarship in music and new critical studies in other disciplines. May be repeated for credit.

240 Graduate Projects (4) F, W, S. Substantial projects in performance, conducting, or composition (other than those specifically required for the degree), accompanied by a summary paper. May be repeated for credit.

250 Directed Reading (4). Individual research projects, resulting in the writing of a substantial paper pertaining to the principal area of concentration. May be repeated for credit.

399 University Teaching (1 to 4) F, W, S. Limited to Teaching Assistants. May be repeated for credit.